To Kapoor’s credit, his vision is ambitious and “Fitoor” (Obsession) has the look of a brooding, sweeping romance that transcends time and, at times, the realities of the era in which it is based.

Fitoor has to be one of the most enchanting films to look at, in a long time. But this great looking film that captures the surreal beauty of Kashmir does not live up to the great expectations attached with it.

Fitoor takes a multi-layered classic, dilutes its themes of imperialism and social hierarchies, and chooses instead to interpret it in a more Bollywood-esque manner. But that isn’t what’s wrong with it. Ultimately, what prevents the film from truly soaring are the undeniable chinks in its otherwise attractive armour…

‘Fitoor’ is a staggeringly beautiful canvas, but nothing else.

Fitoor is one of the most disappointing literary adaptations ever attempted in Indian cinema. Director Abhishek Kapoor had earlier done Chetan Bhagat’s 3 Mistakes Of My Life (Kai Po Che). This is less Dickens, more Mills & Boon. Kashmir has a lot to be happy about. Wish we could say the same about Charles Dickens.

Fitoor is very slow and confusing too. Rather than happiness, it sells depression. It may be liked by a section of the class audience but it will be rejected by the masses and will, therefore, prove to be a box-office disaster, entailing a huge loss to all concerned.

Abhishek Kapoor‘s brilliance as a director can be seen in the shots of Kashmir. Right from the start of the film, Dal Lake’s serenity and Srinagar’s virgin beauty will leave you awe-struck. However, in terms of performances, you wonder if he could have pushed the lead pair a little harder.

Fitoor is lush and aching, more Regency novel than Dickens. And it works, but only up till a point.

Of course all the loose ends are tied up eventually, explanations are offered but it is done clumsily and stretches credibility.

Fitoor is a class movie like Haider, while there are flaws, it is definitely worth the watch.

Fitoor’s plot has no central motor to power it through its twists and turns, and no discernible big idea to replace the critique of privilege and entitlement. Despite being residents of one of the country’s most politically volatile states, the characters are largely bereft of ideology.